Summer 2023
At the Podium with Kyle Dickson
American conductor Kyle Dickson is known for his dynamic and inspiring presence on the podium. The recipient of numerous awards, he is a Salonen Conducting Fellow with the San Francisco Symphony and the Colburn School. He is passionate about music education and has worked with the Chicago Youth Symphony, the Inner City Youth Orchestra of Los Angeles, and Ravinia’s El Sistema program. Festival Napa Valley is honored to name Dickson this year’s Joel Revzen Conducting Fellow.
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Your interest in music began in grade school in Detroit’s public school system. Can you speak to the role arts education played in your development as a musician and as a student?
My earliest memories of music-making are from my elementary school music class, which was always my favorite part of the day. I began singing in the school’s Glee Club in 3rd grade when my wonderful teacher, Viola Seck, noticed my interest and ability. We would regularly take field trips to the Detroit Symphony Orchestra whose Resident Conductor, Thomas Wilkins, kept us on the edge of our seats. While I didn’t start taking lessons until a few years later, these early experiences stuck with me.
You started playing violin in 9th grade, and your high school orchestra director immediately noticed you had promise. What elements of your music education were the most important to you?
Growing up in Detroit, I was surrounded by music. Even still, I had a late start on violin. But I was fortunate to have an intensive and immersive experience from day one. My two main sources of inspiration were the Sphinx Institute of Music and the Winans Academy of Performing Arts. I developed a broad notion of what was possible with a career in music bouncing between these two circles. Most importantly, I was surrounded by artists who looked like me, so I acquired a sense of belonging. There was no barrier between my identity and the kind of music that resonated with me.
How did you get interested in conducting, and what inspired you to pursue it as a career?
I was enjoying a freelance career as a violinist, performing and teaching. One spring, a youth ensemble I was coaching in Chicago suddenly tripled in size, and I found myself the de facto conductor for their upcoming performance. That experience ended up being successful and inspiring for everyone. This coincided with some neurological symptoms I was experiencing in my hands from a nonperformance- related medical condition. I decided conducting could be a natural and meaningful way to continue making music.
What do you think are the most important qualities for a conductor to possess, and how do you cultivate those qualities in yourself?
A strong curiosity about music and its limitless possibilities. As a conductor, you spend most of your time alone pouring over and internalizing the countless details in your scores that you translate into musical decisions — so it’s advantageous to be a person who enjoys building a relationship with a piece over time. A conductor should also enjoy connecting with people. I look forward to the exchanges with colleagues as we make musical decisions together. Even though music is the mode of expression, it’s the human connection that unites us in the performance.
How do you approach programming as a conductor, particularly in terms of highlighting works by composers of color?
A piece of great advice I received: always program music that you love. I’m the best advocate for works that I believe in, so I try to program music that moves me because I genuinely think it can move others, too. I’ve always been intentional about programming works by Black composers because I identify with so many of the cultural, idiosyncratic, and stylistic references in the repertoire. More importantly, there are so many narratives yet to be uncovered in this rich tradition. The stories of these composers and their works have the power to be real connectors to new, enthusiastic concert attendees.
How do you see the role of classical music and orchestral performance evolving in the coming years, and how do you think conductors can stay relevant and engaged with audiences?
The pandemic revealed a lot of new avenues for arts organizations to reach audiences. It led to some innovative ways of incorporating technology into the concert experience, bringing some of the reluctant among us into the 21st century. Both conductors and orchestras are becoming more versatile, and young conductors are expected to be cultural ambassadors and leaders in addition to serving as advocates for the tradition of classical music. We must also be ambassadors for a much broader and more diverse audience, so developing meaningful relationships with those audience members is crucial. The concert hall should be a place for everyone, and some arts organizations are doing the work to move us closer to that ideal.
You do a lot of work with youth ensembles. How do you mentor and support young people who are interested in pursuing careers in classical music? What advice do you have for the next generation of musicians?
It’s really rewarding and a major responsibility to work with young musicians. They require a unique approach to rehearsing, coaching, and conducting because they’re learning highly nuanced principles of ensemble playing in real time. These are skills they’ll ideally use for the rest of their careers, so those details need to be properly communicated. My advice to the next generation: bring joy to your music and use your gift to leave something beautiful behind. Don’t be a passive participant in your music-making in a society that’s hungry for more real human connection. Be a storyteller.
What is your favorite food, either to eat or to cook?
My partner makes an amazing bacon parsnip pasta I could eat three times a day.
If you drink wine, what is your favorite — red, white, rosé, sparkling? Do you have a favorite varietal or winemaker?
White. I’m a friend and a big fan of John Kongsgaard.
What is the favorite place you've traveled to, and what makes it special?
Florence is a dream city because of its rich history and its architecture. I also get to try out my (very patchy) Italian on the locals!